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About the Selections (Winds of Nagual)

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About the Selections (Winds of Nagual) Winds of Nagual Antonín Dvořák: Serenade, Op. 22, setting for Sinfonia, Theta Alpha Chapter. Additional generous chamber winds and strings by Russel C. contributions were received from Sigma Alpha Iota, the Mikkelson Ohio State University Bands, the School of Music, the College of the Arts, the Ohio State Marching Band, Tau T h e Serenade in E, Op. 22, for string orchestra was Beta Sigma, and Kappa Kappa Psi. The piece is based written at a pivotal time in Dvofiák’s career. He had on the hymn tune, Great is Thy Faithfulness, by Thomas composed symphonies, operas, chamber music, for O. Chisolm (words) and William M. Runyan (music). more than twelve years before, but met with little The first verse and refrain are as follows: success. It was then that he was awarded the Austrian State Prize in 1874 (he would receive it again in 1876 Great is thy faithfulness, O God my Father; and 1877), on the recommendation of Brahms, Eduard There is no Shadow of turning with thee; Hanslick the critic and Hofkapellmeister Johann von Thou changest not, thy compassions they fail not; Herbeck. Brahms was so taken with the young As thou hast been, thou forever wilt be. composer that he introduced him to his publisher Simrock. From that point on, Dvofiák was ready to Refrain: spread his compositional wings, going on to become one Great is thy faithfulness! Great is thy faithfulness! of the most successful composers of his time. Morning by morning new mercies I see; The S e r e n a d e was written in May 1875, less than All I have needed thy hand hath provided; three years before the Serenade in D minor, Op. 44, for Great is thy faithfulness, Lord, unto thee. chamber winds, cello and bass. It was the Opus 44 Serenade that inspired this wind setting of the Opus 22 The title of the work is taken from the second line of the Serenade. Similar to the Opus 44, Mikkelson has set the first verse which perhaps sums up the meaning of the Opus 22 Serenade for pairs of flutes, oboes, clarinets, hymn and the faith held by Lois Brock. The work also bassoons, and horns, cello and bass. Study of Dvofiák’s features optional hand-bells, as Lois was an avid hand- wind serenade and orchestral writing revealed aspects of bell player at her local church. the composer’s scoring practices for winds, which were The work begins quietly and somewhat implemented in the current setting of the Opus 22. This mysteriously on a motive using the interval of the arrangement had its premiere on 30th November, 2004 falling fourth of the refrain of the hymn. This material by the Ohio State University Wind Symphony, grows and gathers texture and then concludes softly on a conducted by Russel C. Mikkelson. rolled G major chord in the marimba. A chorale follows, played by the hand-bells. I call this chorale the “Lois Russel C. Mikkelson Brock Chorale” as it exhibits the warmness of her ever- loving spirit. An interlude follows using motives from David Gillingham: No Shadow of Turning the hymn and leads to the flute playing the verse of the hymn. Pursuant to this quiet rendition is a rather No Shadow of Turning was commissioned by a aggressive section featuring the timpani and percussion consortium of organizations at the Ohio State University that play with the opening motive of the refrain. This in memory of Lois Brock, beloved secretary of the Ohio leads to a fugue on the same motivic material that grows State University Bands. The sponsoring organization of in intensity and segues with the trombones playing the the commission are the brothers of Phi Mu Alpha hymn tune in march-like style against the fanfare-like 8.570244 motives in the trumpets. All this subsides and the hymn perspectives, as Juan submits him to long desert is now played by the trumpets against the horns playing marches, encounters with terrifying powers and altered the Lois Brock Chorale. The full band joins in on the states of reality. A comic aspect is added to the piece by refrain that rises to a glorious pinnacle and then Don Genaro, a sorcerer friend of Juan’s, who frightens concludes softly by the euphonium. The material from Carlos with fantastic tricks like disappearing and re- the introduction is then restated and leads to a final appearing at will. statement of the refrain followed by a peaceful and The listener need not have read Castaneda’s books heavenly benediction. to enjoy the work, and I do not expect anyone to follow any exact scenario. My objective is to capture the mood David Gillingham and atmosphere created by the books and to convey a feeling of the relationship that develops as a teacher of Michael Colgrass: Winds of Nagual ancient wisdom tries to cultivate heart in an analytical young man of the technological age. Many band pieces are by nature outgoing, but Winds of Nagual is music, I would like to suggest, you go inside Michael Colgrass to listen to, the way a composer might listen while composing. Sometimes when I am composing I see Nicolai Rimsky-Korsakov: Flight of the music almost as if it is a film. This piece was inspired by Bumblebee, Arr. Donald Hunsberger the writings of Carlos Castaneda and the tales of his experiences in Mexico with a Yaqui Indian sorcerer Donald Hunsberger made this arrangement of the named Don Juan Matisse. Carlos experiences a fantastic Rimsky-Korsakov’s classic Flight of the Bumblebee to thirteen-year apprenticeship where he learns secrets of feature solo trumpeter Wynton Marsalis. In the present pre-Columbian wisdom that develops his personal version he assigns the solo trumpet line to various creativity…what Don Juan calls the Nagual. instruments in the band, creating a short virtuosic Each of the characters in the fable has a musical display for the ensemble. theme: Juan’s is dark and ominous, yet gentle and kind; Carlos’s is open, direct and naïve. We hear Carlos’s Russel C. Mikkelson theme throughout the piece from constantly changing 8.570244 .
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